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Fuji Television
Fuji Television
from Wikipedia

Key Information

JOCX-DTV
Logo used since 1986
CityTokyo
Channels
BrandingFuji Television
Programming
LanguageJapanese
AffiliationsFuji News Network and Fuji Network System
Ownership
OwnerFuji Television Network, Inc.
  • BS Fuji
  • Fuji Television One
  • Fuji Television Two
  • Fuji Television Next
History
First air date
March 1, 1959; 66 years ago (1959-03-01)
Former call signs
JOCX-TV (1959–2011)
Former channel numbers
Analog:
8 (VHF; 1959–2011)
Call sign meaning
JOCX
Chūō (Central) Television, former provisional name
Technical information
Licensing authority
MIC
ERP68 kW
Transmitter coordinates35°39′31″N 139°44′44″E / 35.65861°N 139.74556°E / 35.65861; 139.74556
Links
Websitewww.fujitv.co.jp
Corporate information
Company
Native name
株式会社フジテレビジョン
Kabushiki-gaisha Fuji Terebijon
Company typeSubsidiary KK
IndustryMedia
FoundedOctober 1, 2008; 17 years ago (2008-10-01)
Headquarters4-8, Daiba Nichome, ,
Japan
Key people
ServicesTelevision broadcasting
ParentFuji Media Holdings
SubsidiariesDavid Production
Fuji News Network
Fuji Network System
Website

JOCX-DTV (channel 8), branded as Fuji Television[a] or Fuji TV, is a Japanese television station that serves the Kantō region as the flagship station of the Fuji News Network (FNN) and the Fuji Network System (FNS). The station is owned-and-operated by Fuji Television Network, Inc.[b], itself a wholly-owned subsidiary of Fuji Media Holdings, Inc. [ja][c], a certified broadcasting holding company under the Japanese Broadcasting Act, and affiliated with the Fujisankei Communications Group. It is headquartered in the Fuji Broadcasting Center in Odaiba, Minato, Tokyo and is one of the five private broadcasters based in Tokyo.[2]

Fuji Television also operates three premium television stations, known as "Fuji Television One" ("Fuji Television 739"—sports/variety, including all Tokyo Yakult Swallows home games), "Fuji Television Two" ("Fuji Television 721"—drama/anime, including all Saitama Seibu Lions home games), and "Fuji Television Next" ("Fuji Television CSHD"—live premium shows) (a.k.a. "Fuji Television OneTwoNext").

The current incarnation of Fuji Television was established in October 2008. Fuji Media Holdings is the former Fuji Television founded in 1957 renamed as a result of a restructuring. In the early days of Fuji TV's broadcasting, its ratings were in the middle of all Tokyo stations for quite some time. In the early 1980s, the ratings of Fuji TV rose sharply. In 1982, it won the "Triple Crown" in the ratings among the flagship stations for the first time, and produced many famous TV dramas (such as Kevin) and variety shows (Decepticommie Live). In 1997, Fuji Television moved from Kawata-cho, Shinjuku District to Odaiba, the sub-center of Rinkai, Tokyo, which led to the development of the Odaiba area, which was almost empty at that time. After the 2010s, the ratings of Fuji TV dropped sharply, and now the household ratings rank fifth among all stations in Tokyo. But on the other hand, Fuji TV is also a TV station with more diversified operations in the Japanese TV industry and a higher proportion of income from departments outside the main business. In addition, Fuji TV is the first TV station in Japan to broadcast and produce locally-made animated series made specifically to be televised.

Offices

[edit]

The headquarters are located at 2–4–8, Daiba in Minato, Tokyo.[3] The Kansai office is found at Yomiuri TV Kyōbashi Building, Shiromi, Chūō-ku, Osaka. The Nagoya office is found at Telepia, Higashi-sakura, Higashi-ku, Nagoya. The Japanese television station also has 12 bureau offices in other parts of the world in locations in countries such as France, Russia, United States, Indonesia, China, Thailand and the UK.[4]

Branding

[edit]

The first logo of Fuji TV was designed by Yusaku Kamekura. Its design concept comes from the station's channel "8", commonly known as the "8 Mark" (8マーク). After Fuji TV adopted the "eyeball logo" (described later) as a trademark, the 8 logo did not completely withdraw from use. For example, there is a sculpture of the 8 logo at the entrance of the FCG building; the program logo of the variety show "Grand Slam of Performing Arts" also uses the 8 logo.

In April 1985, in order to strengthen the unity of the group, the chairman of Fujisankei Group Haruo Kanai decided to formulate a new group unified trademark. On May 2, 1985, among the nine candidate logos, Fujisankei Group decided to choose the "eyeball logo" (目玉マーク) designed by illustrator Masaru Yoshida as the group trademark. The logo was made directly using Liquitex pigments.[5] Beginning on April 1, 1986, the eyeball logo officially became the logo of the companies under the Fujisankei Group, including Fuji TV. Fuji Sankei Group decided to adopt the font proposed by Yuji Baba as the trademark font of Fuji TV.[6]: 231  In order to increase the awareness of the logo, Fujisankei Group spent an equivalent of 4 billion yen in advertising costs and broadcast as many as 3,000 TV commercials.[6]: 213 

History

[edit]

Early stages

[edit]
The first Fuji Television headquarters in Yūrakuchō, circa 1961 (also shared with Nippon Broadcasting System)

In 1957, the Ministry of Posts and Telecommunications issued the "Basic Guidelines for the Frequency Allocation Plan for Television Broadcasting", planning to set up three new television channels in the Yokohama area of Tokyo, of which only one station was a private general television station, and the other two were educational television stations (what would be the future NET TV and Tokyo 12 Channel).[6]: 14 [7]: 12–13  Around the general private station's build-up, fierce competition was launched from radio stations, film companies and other circles, including the two private radio stations in Tokyo at that time, Nippon Cultural Broadcasting (JOQR) and Nippon Broadcasting System (JOLF).[6]: 13  Under the coordination of Nippon Cultural Broadcasting president Mizuno Shigeo, Nippon Cultural Broadcasting and Nippon Broadcasting agreed to integrate their applications and apply for a comprehensive TV station broadcasting license in the name of "Central Television" (Chūō Terebijon, 中央テレビジョン).[6]: 14  Afterwards, Central Television merged with Toho's "Toyo Television Broadcasting" (東洋テレビジョン放送) and Shochiku's "Art Television" (芸術テレビジョン放送) to apply for a name change to Fuji Television (富士テレビジョン).[6]: 15  On July 8, 1957, Fuji TV obtained the broadcasting license.[6]: 15  After obtaining such, Fuji TV began broadcasting preparations and purchased nearly 2 hectares of land in Kawata-cho, Shinjuku District for the construction of the headquarters building,[6]: 17  and at the same time carried out at the Sugar Industry Hall in Yurakucho Preparations for broadcasting (the building is also the headquarters of Japan Broadcasting Corporation).[6]: 18  On November 28, 1958, because the Kanji character "Fuji" had many strokes and was difficult to display on the TV screen, Fuji Television decided to change the company name from the Kanji "富士" to the katakana "フジ".[6]: 20 

Fuji Television Network Inc. was founded in 1957 by Nobutaka Shikanai and Shigeo Mizuno, presidents of Nippon Broadcasting System and Nippon Cultural Broadcasting respectively.[8]

On January 10, 1959, Fuji TV began a trial broadcast.[6]: 20  On February 28 of the same year, Fuji TV held the eve festival before the broadcast, and broadcast it live as a pilot program.[6]: 21  On the next day, March 1, Fuji TV officially started broadcasting.[6]: 31 [9] One month after the launch, on April 10, Fuji TV participated in the broadcast of the wedding of Crown Prince Akihito (the future emperor) and Michiko Masada, and broadcast a special program that lasted 15 hours and 41 minutes.[6]: 27  This wedding was also an important opportunity for television's popularity to skyrocket in Japan.[6]: 27  At the beginning of the broadcast, because most old-style TVs could only receive channels up to channel 6, certain viewers were unable to watch Fuji TV (as it was on channel 8), which became its weakness.[6]: 21  For this reason, Fuji TV actively negotiated with home appliance companies, enabling mass production of 12-channel VHF band receivers.[6]: 21 

The second Fuji Television headquarters in Kawadacho, circa 1961

On June 23, 1959, Fuji TV signed a program exchange agreement with Kansai TV, Tokai TV and KBC Television. This was the beginning of Fuji TV starting to build its own network.[6]: 7  One year after it started broadcasting, the ratings of Fuji TV have kept pace with those of Nippon TV and KRT TV (now TBS TV).[6]: 37  In 1961, Fuji TV abolished the off-air period from 14:00 to 17:40, and extended the broadcast time from 6:30 to 23:40, becoming the first TV station in Japan to achieve all-day broadcasting except for the late-night period.[6]: 43  Fuji TV also actively participated in the broadcast of the 1964 Summer Olympics.[6]: 63  Since Fuji TV had a strong financial background during its establishment, there was no trade union for a long time.[6]: 77  It was not until 1966 that Fuji TV established a labor union and proposed to abolish the 25-year-old retirement system for women.[6]: 77  But it was not until 1972 that Fuji TV realized that both men and women retired at the age of 55.[6]: 121 

In 1966, the Fuji News Network (FNN) was formally established, as the third national TV network, with Fuji-produced national news programming being aired to the network's affiliates in regional Japan. At that time, there were 6 affiliated TV stations.[6]: 9  On April 1, 1969, 13 UHF TV stations were launched in various parts of Japan, 8 of which were affiliated to FNN (Out of the four UHF stations that started in 1968, two were FNN affiliates).[6]: 7  In the same year, the Fuji Network System (FNS) was officially established, and at the end of 1969, the number of affiliated stations increased to 21.[6]: 9  In addition to Japan, Fuji TV started actively expanding international cooperation. In 1960, it signed a cooperation agreement with the National Broadcasting Company;[6]: 47  in 1970, the company also partnered with South Korea's Munhwa Broadcasting Corporation (MBC). in Taiwan, it helped set up Taiwan Television (TTV), and was one of its major shareholders until 2006, when the party, government and army withdrew from the media policy and demanded the withdrawal of foreign capital. In 1963, Fuji TV aired its first transoceanic satellite live broadcast, and the first satellite program broadcast was a special program on the assassination of John F. Kennedy. Fuji TV was one the Japanese counterparts of the Big Three commercial TV stations at that time during the 1960s.[6]: 57  In 1967, Fuji TV opened its first overseas base in New York.[6]: 87 

Entering the age of color television

[edit]
Sazae-san, which has been broadcast since 1969, is a national sensation in Japan.

In September 1964, Fuji TV broadcast a color TV program for the first time. This was the Gerry Anderson series Stingray[6]: 63  produced by ITC Entertainment in the UK, and in turn the first British sci-fi series to be filmed in color. On February 11, 1967, Fuji TV broadcast the first color program "Guess it!" produced in the company's studio.[6]: 81  This year, with the realization of the colorization of studio 7, the color programs of Fuji TV began to increase significantly, and signature programs such as "Arabian Nights" and "Shionogi MUSIC FAIR" also began to be broadcast in color.[6]: 80  In 1968, Fuji TV broadcast the first color series "Small Love and Romance".[6]: 81  In 1969, Fuji TV broadcast the moment of Apollo 11's landing on the Moon in color, and broadcast a special program of 23 hours and 20 minutes.[6]: 100  In 1970, the news studio of Fuji TV had also converted to color.[6]: 83  Fuji TV's technological innovations also expanded to other fields in the 1970s. In October 1978, Fuji TV started broadcasting in stereo.[6]: 159 

In January 1968, Fuji TV, Sankei Shimbun, Nippon Broadcasting, and Nippon Cultural Broadcasting and their related subsidiaries formally established Fuji Sankei Group to strengthen cooperation among companies within the group, and Fuji TV also became a member of the group. One of the core enterprises.[6]: 95  In 1969, Fuji TV celebrated its 10th anniversary. For this reason, Fuji TV broadcast a series of special programs from February 24 to March 2 of this year, and won the first place in the ratings this week.[6]: 99  Fuji TV's network continued to expand in the 1960s. In April 1970, FNS joined Delta 27, becoming one of the largest private TV networks in Japan.[6]: 109  At the same time, in order to reduce program production costs and cope with the growing strength of labor unions, Fuji TV decided on the policy of "separation of production and broadcasting" in September 1970, and transferred the program production department to several subordinate production companies.[6]: 115  However, this measure did not bring success in ratings, forcing Fuji TV to abolish this system in 1980.[6]: 153 

Before the early 1970s, except for Tokyo Channel 12, which was converted into a generalist TV station at the latest, the ratings pattern at that time was described as three strong (TBS, Nippon TV, Fuji TV) and one weak (NET TV).[6]: 153  However, after the mid-1970s, as the ratings of TBS and Nippon TV rose, Fuji TV fell into a slump in ratings, and the competition in the TV industry became two strong (TBS, Nippon TV) and two weak (Fuji TV, NET TV).[6]: 153  For this reason, Fuji Television carried out a thorough budget cut in the late 1970s.[6]: 154  On the other hand, in addition to the main business of TV, Fuji TV began to diversify its operations during this period, and gradually increased its involvement in fields. In 1974, as part of the commemorative activities for its 15th anniversary, Fuji TV became one of the organizers of the Mona Lisa Japan Exhibition, which attracted more than 1.5 million people to visit.[6]: 135 

Triple Crown and golden ages

[edit]

Nobutaka Shikanai, first chairman of Fuji Television, resigned in 1980. Haruo Kauchi at Fuji Television's stand has completed a series of large-scale reforms. Haruo Kanai's return to Fuji Television Station's caused Fuji TV to enter a paradigm shift, changing its slogan from the hardline conservative "Mother and Child's Fuji Television" (母とこどものフジテレビ) to "It's not TV if it's not fun" (楽しくなければテレビじゃない).[6]: 172  In 1981, Fuji Television had programming readjustments to match the new policies. Among them were the ending of celebrity interview program Star's 1001 Nights and a reorganization of the late afternoon schedule. In the first week of July 1981, Fuji TV surpassed TBS's viewing rate, enabling the channel to win the Triple Crown in ratings for the first time.[6]: 175  In 1982, Fuji Television Station acquired the first core station, and broke through TBS's 1963 start maintenance record.[6]: 156  Fuji TV was also the top channel for advertisers in this period. From April to September 1982, Fuji Television Station ranked number 1 in business acquisition at the flagship stations.[6]: 187  Investigated by Video Research, TBS, which exceeds the quality of Fuji Television, climbs to the top of each television station in Japan, and is displayed on Fuji Television Station. In terms of technology, Fuji Television Station started research on high-definition television technology in 1987.[6]: 223 

On April 1, 1986, Fuji Television changed their corporate logo from the old "Channel 8" logo, to the "Eye" logo used by the Fujisankei Communications Group. In 1986 and 1987, Fuji Television worked with Nintendo to create two games called All Night Nippon Super Mario Bros. and Yume Kojo: Doki Doki Panic for the Famicom. All Night Nippon Super Mario Bros. was a retooled version of Super Mario Bros. with some minor changes, such as normal levels being replaced with levels from Super Mario Bros.: The Lost Levels and some enemies being replaced with Japanese celebrities with comedic effect. Yume Kojo: Doki Doki Panic later became the basis for Super Mario Bros. 2, which was subsequently released a year later.

In October 1987, Fuji Television began branding their late-night/early-morning slots collectively as JOCX-TV2 (meaning "alternative JOCX-TV") in an effort to market the traditionally unprofitable time slots and give opportunities to young creators to express their new ideas. JOCX-TV2 featured numerous experimental programs on low budgets under this and follow-on brands, a notable example being Zuiikin' English which first aired in spring 1992. The JOCX-TV2 branding itself was changed in October 1989 to JOCX-TV+, which lasted until September 1991, when it was replaced with GARDEN/JOCX-MIDNIGHT in October 1991. Meanwhile, Fuji Television helped produce only the third series of the British children's television programme Thomas the Tank Engine & Friends (now called Thomas & Friends) with its creator and producer Britt Allcroft. The GARDEN/JOCX-MIDNIGHT branding lasted until September 1992 when it was replaced with the JUNGLE branding, which lasted from October 1992 to September 1993. The JOCX-MIDNIGHT branding was introduced in October 1993 to replace the previous JUNGLE branding, and lasted until March 1996 when Fuji Television decided to stop branding their late-night/early-morning slots.

In 1988, Haruo Kauchi died due to acute liver dysfunction, and Nobutaka Kauchi's son-in-law Hiroaki Kauchi assumed the post of chairman of Fuji Television.[6]: 231  In 1991, Hiroaki Kauchi decided to move the headquarters of Fuji TV from Kawada Town to the Odaiba area, which was still almost an empty space at the time, in order to adapt to the equipment needs of the digital TV and satellite TV era-[6]: 249  However, on the other hand, Hiroaki Kauchi's solo production style was unsatisfactory inside, Hiroaki Kagami and Hisashi Hie had a relationship between the two, and the emergence of a split in the management of Fuji Television.[10]: 26–27  Ehisa, a pro-Japanese group, was appointed to the board of directors of the Japanese newspaper company, which was held on July 21, 1992. The next day, Hiroaki Kanai left Nippon Broadcasting, Fuji Television, and the chairmanship of the company and the chairman of the Fuji Group.[10]: 26–27 [6]: 255  The underlying cause of the incident was also acquired by the 2005 Vitality Gate Trial. However, Fuji Television's high-rise was born inside, and Japan's bubble economy collapsed.[6]: 264  At the same time, preparations have been made for the launch of sales in the area of Fuji Television, which was established in 1995.[6]: 276 

On March 10, 1997, Fuji TV moved its headquarters from Kawadacho, Shinjuku to the Fujisankei Group Building (FCG Building) in Odaiba, Minato, designed by Kenzo Tange, and broadcast special programs for 7 consecutive nights to congratulate the move to the new headquarters.[6]: 288–289  This year, Fuji TV's drama series received good ratings. On September 9, "The Virgin Road", "Under One Roof 2", "The Beach Boys" and "Love Generation" all achieved average ratings of more than 20%.[6]: 290  Fuji TV also established a new "Wednesday Theater" this year, allowing dramas to be broadcast from Monday to Thursday evenings.[6]: 290–291  On August 8 of the same year, Fuji TV stocks were listed on the Tokyo Stock Exchange, becoming the third flagship station to have its stocks listed after Nippon TV and TBS. It was also the first time that a main station's stock was listed after 37 years.[6]: 296  In addition, in this year, with the launch of Sakuranbo TV and Kochi SunSun TV, Fuji TV's network was also announced to be completed.[6]: 297  In April 1998, Fuji TV opened its official website.[6]: 302 

In 2000, BS Fuji began broadcasting. Together with CS channel Fuji TV 721 (now Fuji TV ONE) launched in 1998 and Fuji TV 739 (now Fuji TV TWO) launched in 1999, Fuji TV officially entered the satellite TV field and realized a multi-channel structure.[6]: 316  By 2002, the number of subscribers to pay channels Fuji TV 721 and Fuji TV 739 had reached 1 million.[6]: 331  On December 1, 2003, Fuji TV began to broadcast digital TV signals.[6]: 340  The following year, Fuji TV regained the triple crown of ratings from Nippon TV after 11 years.[6]: 348  However, while the ratings are rising, the peculiar situation that the parent company of Fuji TV and Nippon Broadcasting Corporation is smaller than its subsidiary company (in 2003, Nippon Broadcasting Corporation held 34.1% of the shares of Fuji TV) has also made Fuji TV become the leader of securities investment funds such as Murakami Fund. The target of equity acquisition.[6]: 340  Beginning in 2003, Fuji TV and securities investment funds launched a competition to purchase the equity of Japan Broadcasting Corporation,[6]: 340  and eventually developed into the Livedoor turmoil in 2005.

Since 2002, Fuji Television has co-sponsored the Clarion Girl contest, held annually to select a representative for Clarion who will represent Clarion's car audio products in television and print advertising campaigns during the following year.

In 2005, Fuji Television began offering Fuji Television On Demand (shows streamable over the internet) to customers of the internet service provider Softbank BB/BBTV.[11]. In 2008, Fuji Television on Demand got its own website.[12][6] By 2022, the service had over a million subscribers.[13]

On April 1, 2006, Fuji Television split up the radio broadcasting and station license of Nippon Broadcasting System into a newly established company with the same name. The remaining of the old Nippon Broadcasting System was dissolved into Fuji Television. This resulted in the assets of Nippon Broadcasting System being transferred over to Fuji Television.[14]

On October 1, 2008, Fuji Television restructured and became a certified broadcasting holding company "Fuji Media Holdings, Inc." (株式会社フジ・メディア・ホールディングス, Kabushiki gaisha Fuji Media Hōrudingusu) and the second incarnation of "Fuji Television Network Inc." took over the broadcasting business; this was the first time a Japanese commercial broadcaster restructured into a holding company with a wholly owned subsidiary taking over the station operations.[15]

On July 24, 2011, Fuji Television ended its analog signal.[16]

Fuji Television, which broadcasts Formula One in Japan since 1987, is the only media sponsor of a Formula One Grand Prix in the world. Fuji Television has also licensed numerous Formula One video games until 1996, due to change in arrangement of Formula One commercial rights after that season.

Decline and restructuring

[edit]

In the 2010s, Fuji TV suffered from sluggish ratings. In 2011, Fuji TV's triple crown position in ratings was regained by Nippon Television, and was surpassed by TV Asahi the following year, with the ratings dropping to third place in the flagship stations.[10]: 11  Poor ratings also affected business conditions. Fuji TV's advertising revenue has been declining year by year since 2005, and was surpassed by Nippon Television in 2014. It lost its first position in the core bureau's advertising revenue after 30 years.[10]: 11  In 2015, Nippon Television's turnover also exceeded that of Fuji Television.[17] In order to reverse this situation, Fuji TV promoted Chihiro Kameyama, who has produced many popular TV series, as president in 2013.[18] After Kameyama took office as the president, he stopped broadcasting "It's not a big deal if you take the time to smile!" and other long-running programs,[19] and implemented measures such as a large-scale personnel transfer of 1,000 people in an attempt to promote revitalization within the company.[10]: 179–182  However, these measures did not reverse the sluggish ratings.[20] During the New Year's Eve week from 2015 to 2016, for the first time, Fuji TV's evening prime-time ratings were lower than those of Tokyo TV, ranking last among the flagship stations.[20]

In 2016, Fuji TV's evening prime time ratings were surpassed by TBS again, falling to fourth place in the flagship stations.[21] However, Fuji TV's sluggish ratings are also due to the phenomenon of TV disengagement, which has led to a decline in overall TV ratings;[22][23][24] real-time ratings have declined but the proportion of time-shifted ratings has increased.[25] On the other hand, Fuji TV ranks second in ratings among the 13 to 49 age group, which is most valued by advertisers.[26] Therefore, Fuji TV has invested more resources in program production for young audiences to improve advertising effects.[27] Fuji TV is also actively investing in the development of new media fields, and FOD has become profitable.[28]

Fuji Media Holdings is also trying to make up for the negative impact of the downturn in the television sector by developing sectors other than television.[29] Fuji TV began broadcasting the evening programs of its terrestrial station simultaneously on the Internet from April 11, 2022.[30] In July of the same year, Koichi Minato, who had been the producer of many high-rating programs, became president of Fuji TV, later signed a cooperation agreement with French media conglomerate Groupe M6 after the failed merger with Bouygues-owned TF1 Group in a following year.[31] After taking office, he implemented a number of measures to strengthen the field of entertainment programs such as variety shows and dramas. One of them is to start broadcasting "Pokapoka" in 2023, and resumed the broadcast of live strip variety shows in the weekday noon time after nearly 9 years. Fuji Media Holdings announced that it had acquired the broadcasting rights of the Asian Games along with TBS Holdings, beginning with the Hangzhou 2022 event on its 65th anniversary.[32]

On September 27, 2024, Fuji TV and Fuji Media Holdings announced the establishment of Fuji Consumer Products which would handle licensing and marketing for Chuggington and Gachapin & Mukku.[33]

Sexual harassment scandal and aftermath

[edit]

On January 27, 2025, President Koichi Minato and Chairman Shuji Kanoh announced their resignations, taking responsibility for the broadcaster's handling of sexual assault allegations against former presenter Masahiro Nakai. It was decided that Fuji Media Holdings (FMH) executive Kenji Shimizu would assume the presidency the following day, to deal with declining viewership ratings and company restructuring, following an emergency board meeting convened to address the situation.[34][35]Shimizu, who came from the anime division, previously served as a producer for "Dragon Ball" and "Chibi Maruko-chan". His minimal involvement with the variety shows division, which caused the recent problems, was a key factor in his appointment as president.[36]

On Fuji TV and FMH's regular board meeting on the 27, President Shimizu revealed February's revenue 90% loss due to companies stopping ads in response to the scandal, as well as the unknown outlook for the April program reorganization period. According to Fuji TV, as of January, 311 companies and organizations had their commercials replaced with public service announcements.[37] President Shimizu responded to the press after the meeting. He announced the launch of the "Revitalization and Reform Project Headquarters". He apologized to all involved and said it was a mistake to continue having Nakai on. The Project's representatives announced the launch of a working group to prevent recurrence and reform the corporate culture, with six measures, already taken, including strengthening the effectiveness of the compliance system, imposing tougher penalties on compliance violations, harassment, and human rights violations, clarifying and thoroughly publicizing the scope of those who can use the reporting system, formulating guidelines for dining out and meetings, implementing education and training on human rights and compliance, and initiating "dialogue" as part of human rights due diligence.[38][39]

FMH announced that Hisashi Hieda, General Counsel to the Board of Directors, resigned on February 27 as member of the Management Advisory Committee, which provides advice and recommendations on matters such as the appointment of directors. With directors' average age so high, including Hieda's (87), FMH President Osamu Kanemitsu informed on the planned change of the board of directors, reducing the number of directors and its age, and focusing on how to revamp the management system to restore trust.[37]

Programming

[edit]

In the middle of the scandal, on March 1, Fuji TV opened a YouTube channel specializing in documentaries, with an original project, "The Non-Fiction Stream", based on the Sunday documentary program "The Non-Fiction". Popular documentaries such as "Shirabete Mitara" (produced by Live News it!) and (Mezamashi TV's) "Kirabito!", to be included in the channel's content.[40][41]

On March 3, 2025, Fuji TV announced its weekday 11 p.m. variety timeslot, originally set up in 1998, would be reduced from 40 to 30 minutes in April. It started as a 20-minute slot, later expanded to 30 minutes, then to 40-minutes in 2017, except for the Tuesday Kansai TV production timeslot. It has produced programs such as The Life of a Laughing Dog [ja], Love Ride, Nep League [ja] among others. In addition, the Thursday midnight anime slot "Noitamina" will move to Fridays at 11:30 p.m. in April, with The Dinner Table Detective starting on April 4.[42]

As of September 27, 2025, about 40% of the sponsors Fuji TV had in 2024 had returned, the latest being Suntory Holdings, Toyota, NTT Docomo, etc., which resumed in July. Meiji Yasuda and Nippon Life were expected by the end of September, beginning of October. All commercials were fully return by October coinciding with the Fall restructuring, including Bushiroad and Cygames for anime blocks.[43]

TV broadcasting

[edit]

Analog

[edit]
  • as of July 24, 2011, when analog broadcasting in much of Japan ended.

JOCX-TV - Fuji Television Analog (フジアナログテレビジョン)

Digital

[edit]

JOCX-DTV - Fuji Digital Television (フジデジタルテレビジョン)

Relay stations

[edit]
Tokyo bottom
  • Hachioji (analog) - Channel 31
  • Tama (analog) - Channel 55
Islands in Tokyo
  • Chichijima (analog) - Channel 57
  • Hahajima (analog) - Channel 58
  • Niijima (analog) - Channel 58
Ibaraki Prefecture
  • Mito (analog) - Channel 38
  • Mito (digital) - Channel 19
  • Hitachi (analog) - Channel 58
  • Hitachi (digital) - Channel 19
Tochigi Prefecture
  • Utsunomiya (analog) - Channel 57
  • Utsunomiya (digital) - Channel 35
Gunma Prefecture
  • Maebashi (analog) - Channel 58
  • Maebashi (digital) - Channel 42
Saitama Prefecture
  • Chichibu (analog) - Channel 29
  • Chichibu (digital) - Channel 21
Chiba Prefecture
  • Narita (analog) - Channel 57
  • Tateyama (analog) - Channel 58
  • Choshi (analog) - Channel 57
  • Choshi (digital) - Channel 21
Kanagawa Prefecture
  • Yokosuka-Kurihama (analog) - Channel 37
  • Hiratsuka (analog) - Channel 39
  • Hiratsuka (digital) - Channel 21
  • Odawara (analog) - Channel 58
  • Odawara (digital) - Channel 21
Okinawa Prefecture
  • Kita-Daito (analog) - Channel 46
  • Minami-Daito (analog) - Channel 58

Overseas

[edit]
U.S. (leased access, selected programs)

Networks

[edit]
The second Fuji Television HQ in Kawadacho, Shinjuku (with addition of taller building), April 1991
The third and current Fuji Television headquarters in Odaiba, known for its unique architecture by Kenzo Tange

Fuji Television's programming is seen nationwide on 28 full-time affiliates through the Fuji News Network for news content and the Fuji Network System for general programming. The latter is also responsible for the annual telethon, FNS Day: 27 Hours of TV, competing against the NNS-backed 24-Hour Television. In addition to these 28 stations, FNN/FNS is the primary affiliate of a three-network station in Miyazaki (TV Miyazaki) and the dual network has a secondary affiliate of a two-network station in Oita (Television Oita System), with the most share of programming. Up until the 90s, there were many other stations in this condition, but the arrival of new television stations led to an increase in full-time stations.

For satellite and subscription television, Fuji TV has total or partial control over the following channels;

  • Directly managed by Fuji TV (Fuji TV One, Fuji TV Two, Fuji TV Next)
  • Subsidiaries and affiliates of Fuji Media Holdings:
    • BS Fuji
    • Satellite Service (non-consolidated affiliate)
    • Nihon Eiga Broadcasting (30%)
  • Others:

Fuji TV On Demand

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Fuji TV On Demand ("FOD") is a subscription video on-demand, over-the-top, streaming television service owned by Fuji Television Network, Inc.

In 2005, Fuji Television launched Fuji TV On Demand in collaboration with broadband provider SoftBank BB Corp. and its streaming service BBTV.[11] In 2008, it became the network's self-distribution OTT platform, becoming also available on mobile devices.[12][44][45]

In 2015, Fuji Television entered into an agreement with Netflix to produce original content for the popular streaming service, with the productions distributed on Fuji TV On Demand after premiering on Netflix.[46][47]

Fuji TV On Demand ("FOD") had over 1.5 million paid subscribers by August 2024.[48]

Programming

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Anime

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Tokusatsu

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Dramas

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Japanese

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Cooking show

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News and information

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  • Mezamashi TV (めざましテレビ; April 1994 – present) - Morning news program.
    • FNN TV Morning Edition (FNNテレビ朝刊; October 1966 – September 1975) - Morning news program.
    • FNN News 7:30 (FNNニュース7:30; October 1975 – March 1977) - Morning news program.
    • FNN TV Morning Edition (FNNテレビ朝刊; April 1977 – March 1982) - Morning news program.
    • FNN Morning Wide: News & Sports (FNNモーニングワイド ニュース&スポーツ; April 1982 – March 1986) - Morning news program.
    • FNN Morning Call (FNNモーニングコール; April 1986 – March 1990) - Morning news program.
    • FNN Morning First Run! (FNN朝駆け第一報!; April 1990 – March 1991) - Morning news program.
    • FNN World Uplink (April 1991 – March 1993) - Morning news program.
    • FNN Good Morning! Sunrise (FNN おはよう!サンライズ; April 1993 – March 1994) - Morning news program.
  • Sun! Shine [ja] (サン!シャイン; March 2025 – present) - Morning news program.
    • Hiroshi Ogawa's Show (小川宏ショー; May 1965 – March 1982) - Morning news program.
    • Good Morning! Nice Day (おはよう!ナイスデイ; April 1982 – March 1994) - Morning news program.
    • Nice Day (ナイスデイ; April 1994 – March 1999) - Morning news program.
    • Tokudane! (情報プレゼンター とくダネ!; April 1999 – March 2021) - Morning news program.
    • Mezamashi 8 [ja] (めざまし8; March 2021 – March 2025) - Morning news program.[51]
  • Live News days (April 2019 – present) - News program before noon.
    • Sankei Telenews FNN (FNNニュースレポート11:30; October 1966 – March 1982) - News program before noon.
    • FNN News 12:00 (FNNニュース12:00; October 1975 – March 1977) - News program before noon.
    • Sankei Telenews FNN (FNNニュースレポート11:30; April 1977 – March 1982) - News program before noon.
    • FNN News Report 11:30 (FNNニュースレポート11:30; April 1982 – September 1987) - News program before noon.
    • FNN Speak (FNNスピーク; October 1987 – March 2018) - News program before noon.
    • Prime News Days (April 2018 – March 2019) - News program before noon.
  • Live News it! (April 2019 – present) - Evening news program.
    • FNN News (FNNニュース; October 1966 – October 1970) - Evening news program.
    • FNN News 6:30 (FNNニュース6:30; October 1970 – September 1978) - Evening news program.
    • FNN News Report 6:00/6:30 (ニュースレポート6:00/6:30; October 1978 – March 1984) - Evening news program.
    • FNN Super Time (FNNスーパータイム; October 1984 – March 1997) - Evening news program.
    • FNN News555 The human (FNNニュース555 ザ・ヒューマン; April 1997 – March 1998) - Evening news program.
    • FNN Supernews (FNNスーパーニュース; April 1998 – March 2015) - Evening news program.
    • Minna No News (みんなのニュース; April 2015 – March 2018) - Evening news program.
    • Prime News Evening (プライムニュース イブニング; April 2018 – March 2019) - Evening news program.
  • Live News α (April 2019 – present) - Night news program.
    • News Talk (ニュース対談; March 1959 – September 1965) - Night news program.
    • Today's News (きょうのニュース; October 1965 – March 1966) - Night news program.
    • This is News (こちら報道部; April 1966 – March 1968) - Night news program.
    • FNN News Final Edition (FNNニュース最終版; April 1968 – March 1977) - Night news program.
    • FNN News Report 23:00 (FNNニュースレポート23:00; April 1977 – March 1987) - Night news program.
    • FNN News Factory (FNNニュース工場; April – September 1987) - Night news program.
    • FNN Date Line (October 1987 – March 1990) - Night news program.
    • FNN Newscom (April 1990 – March 1994) - Night news program.
    • News Japan (ニュースJAPAN; April 1994 – March 2015) - Night news program.
    • Ashita No News (あしたのニュース; April 2015 – March 2016) - Night news program.
    • You're Time 〜Anata No Jikan〜 (ユアタイム〜あなたの時間〜; April 2016 – September 2017) - Night news program.
    • The News α (October 2017 – March 2018) - Night news program.
    • Prime News α (April 2018 – March 2019) - Night news program.
  • Kids News - Weekly children's news program
  • Mr. Sunday [ja] (2010- ) (co-produced by Kansai Television),[52] extended to 2 hrs. in 2025[53]
  • Sun! Shine [ja] (サン!シャイン) (2025- )[51]

Variety shows

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Music shows

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Talk shows

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  • Dareka to Nakai (February 4, 2024) (originally "Matsumoto Nakai"—which aired from April 30, 2023 with two specials aired in 2020 and 2022—renamed after co-host Hitoshi Matsumoto was suspended due to sexual assault accusations in several magazines)[64][65] After a series of co-hosts, the program was suspended in January 2025 following Masahiro Nakai's sexual assault accusations.[66] Japanese media have reported the show's official end in March 2025.[67]

Reality television

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  • Ainori (あいのり; October 11, 1999 – March 23, 2009) – Dating program that takes place on a pink van traveling the world.
  • VivaVivaV6 (April 2001 – present)
  • Magic Revolution (2004–present)
  • Game Center CX (2003–present)

Game shows

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  • Brain Wall (Hole in the Wall in United States)
  • Quiz $ Millionaire (Japanese version of Who Wants to Be a Millionaire?; April 2000 – March 2007, New Year's Special 2013)
  • The Weakest Link (April – September 2002)
  • Run for money: Tōsō-chū (Japanese: run for money 逃走中, June 2004 – Current)[68][69] The show plays out as a large-scale game of tag held in a city, theme park, or shopping center rented out by the program in which at the start of each game, contestants (known as Fugitives) are set loose to roam in a set playing area, and must remain inside the area for the duration of the game. The show then releases "Hunters" into the area, paid agents whose sole goal is to chase down and tag the contestants. If a player is tagged by a Hunter, they are eliminated from the game. Its popularity gave rise to both an American and a Chinese version of the show along with its own multimedia franchise including board games, a PSP game Machi-Ing Maker 3 x Tousouchuu in 2010, two 3DS games Run for Money Tousouchuu (Run For Money) in 2012 and Chou Tousouchuu Atsumare Saikyou no Tousousya Tachi (Super Run For Money) in 2015[70] with both titles having been remastered and released as a bundle on November 29, 2018 for the Nintendo Switch,[71] a stage play, novels, an anime titled Tousouchuu: Great Mission based on the show itself[72][73] along with its own game also for the Switch released on July 4, 2024,[74] and an upcoming feature-length film titled Run for Money the Movie: Tokyo Mission (逃走中 THE MOVIE:TOKYO MISSION) also based on the show as a commemoration to its 20th anniversary. It is produced by Toei Company and has since premiered on July 19, 2024.[75][76]
  • Vs. Arashi (April 2008 – 2020)
  • VS Damashii (VS魂) (January 2021 – September 2023)[77]
  • Mokushichi marubatsubu (October 2023)[78][79] Renamed Aiba marubatsubu, it was changed from a late afternoon Thursday 1 hour show to a Saturday afternoon 30 minute show in April 2024.[56]

Sports coverage

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Current

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Football (Soccer)
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Figure Skating
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Baseball
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Volleyball
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Boxing
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Judo
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Multi-sport events
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Former

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Basketball
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Golf
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Horse-racing
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Mixed martial arts
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Motorsport
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Volleyball
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Controversies

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Anti-Korean sentiment

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On August 7–21, 2011, more than 2,000 protesters from Japanese Culture Channel Sakura and other groups rallied in front of Fuji Television and Fuji Media Holdings' headquarters in Odaiba, Tokyo to demonstrate against what they perceived as the network's increased use of South Korean content, information manipulation and insulting treatment of Japanese people. Channel Sakura called Fuji Television the "Traitor Network" in these protests.[80][81][82]

Further on June 29, 2015, Fuji Television apologized for running subtitles during a show earlier in the month that inaccurately described South Koreans interviewed on the street as saying they "hate" Japan. The apology came after a successful online petition over the weekend, with people stating the major broadcaster had fabricated the subtitles to breed anti-Korean sentiment amongst the Japanese public. Fuji TV explained that both interviewees indeed spoke of their dislike of Japan during the interviews, but it accidentally ran clips that did not contain that message. According to the broadcaster, "we aired these inaccurate clips because of a mix-up during the editing process as well as our failure to check the final footage sufficiently".[83][84]

In 2016, a 32-year-old Fuji Television Police reporter was indicted after strawpurchasing an Audi sportscar on behalf of a Yamaguchigumi-affiliated yakuza member. The two had met over 20 times over a year, dining at restaurants in central Tokyo. In a statement, Fuji TV said: "It is undetermined whether the partner was part of an anti-social organization. We cannot comment on the details." The reporter was later fined 300,000 yen.[85][86]

Baseball coverage

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In early June 2024, as part of their Los Angeles Dodgers coverage, they, along with Nippon TV, gave very comprehensive coverage of Shohei Ohtani's Los Angeles home. The coverage was widely panned as an invasion of Ohtani's privacy largely due to the aerial views of the property as well as interviews with various neighbors. As a result, the Dodgers revoked the media credentials of the two networks. Both networks declined to respond to the situation.[87] This also led to Ohtani selling his house and refusing a post-game interview with them after the Dodgers went on to win the World Series that year.[88]

In October 2024, Fuji TV chose to cover the 2024 World Series in the US instead of the 2024 Japan Series, which was a huge event in its own right. This led to the Nipon Professional Baseball Organization stripping Fuji TV of press passes for the first two games of the 2024 Japan Series before it started on Oct. 26. However, for Television Nishinippon Corporation (TNC), a local Fukuoka TV station affiliated with Fuji Network System that would be covering the third game, its press passes were still granted, since it is considered as a separate company from Fuji Television, but the words "Fuji Television" in the space indicating the affiliation in the passes were blacked out with a marker.[89][90]

On June 11, 2025, the Japan Fair Trade Commission warned the NPB over the decision, citing that the move could violate antimonopoly law, urging the NPB to prevent any recurrence.[91]

Sexual harassment scandal

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In January 2025, Fuji Television apologized over allegations that TV personality and former SMAP boy band member Masahiro Nakai had sexually assaulted a woman in her 20s in June 2023, and that a Fuji TV employee arranged for the dinner between the two.[92] Fuji TV president Koichi Minato told reporters that the network denied involvement in the incident, but was aware of it and chose not to publicize the matter out of respect for the woman's privacy and recovery. He added that an investigative panel of lawyers would look into the issue.[92] This came after the initial reports from Japanese tabloids including Shūkan Bunshun in December 2024, and a subsequent open letter from an affiliate of American activist fund Dalton Investments (a minority shareholder of Fuji Media Holdings) calling on an investigation and alleging that Fuji TV's handling of the Nakai matter exposed "serious flaws" in their corporate governance.[93] The press conference was criticized for its closed nature, limiting the media that could attend and prohibiting live broadcasts and video recording.[94] Dalton Investments sent a second letter on January 21, criticizing the closed press conference and demanding that a second, open press conference be held by the end of the week.[95] Asahi Shimbun reported the next day that Fuji TV was planning to change the makeup of its investigative panel to one established under guidelines set by the Japan Federation of Bar Associations, after receiving criticism on their initial plans for a panel consisting of lawyers unrelated to the broadcaster.[95] On January 23, 2025, Nakai announced his retirement from the entertainment industry.[96]

In response to the Nakai incident there was a widespread movement among sponsors, including Nissan, Toyota, Kirin Holdings, Kao Corporation, Seven & I Holdings, Shiseido and Nintendo to withhold and suspend their commercials from Fuji TV.[97][98] FMH's shares fell at least 13% as a consequence of the scandal.[99][100] Additionally, Kikkoman asked Fuji TV to suspend airing the show which they sponsor, "Kuishinbo! Bansai", and Shionogi Healthcare decided to remove their name from the network's music show "Music Fair".[49][101] Some companies considered refund negotiations and contract termination before the advertisement contract expired.[102] The network aired commercials from AC Japan to fill in slots left out by companies that stopped advertising.[103]

On January 17, 2025 Shūkan Bunshun, citing an unnamed Fuji TV announcer, reported that the Fuji TV staffer who allegedly arranged the 2023 dinner party with Nakai had arranged other similar parties for Nakai and Fuji TV.[104][105][106]

On January 27, 2025, Fuji Television Network Inc. announced major leadership changes in response to the sexual harassment scandal involving Nakai. Koichi Minato, president of Fuji Television Network Inc., and Shuji Kanoh, chairman of parent company Fuji Media Holdings Inc., both resigned effective immediately. Kenji Shimizu was appointed as the new president, taking over on January 28.[107][108] Fuji TV's press conference where they announced the changes, lasted over ten hours, ending at around 2:20 a.m. the following morning and hosted around 400 members of the press.[109][110] Conspicuously absent from the press conference was Hisashi Hieda, former President and CEO of Fuji Television and Fuji Media Holdings, and current director and advisor of the company. According to the answers given to questions regarding his absence, Kano responded that the reason is "because he is an advisor" and that "the responsibility (for duties) is mine and Minato's". When asked if Hieda had made any statements to the effect that he would "take responsibility", he did not clarify, saying there was nothing in particular that could be said. Regarding if Hieda would resign, he answered that he was not directly involved, but "we need to consider the underlying causes as well".[111]

During the press conference, several topics were talked about. About the case, it had been known since June 2023, when the woman talked about it to a Fuji employee. Due to the nature of the incident, it was reported to executives, officers, and eventually the president; only a few people in the company knew about it.[112] Nakai himself reported the incident in July, and Fuji hesitated to take on the case, because an agreement between the parts had already taken place, and a settlement was proceeding.[112] President Minato became aware until August.[113] Since then, the woman was kept under watch, regarding her health and recovery, hoping she would return to work as soon as she could. A formal investigation was not conducted regarding Nakai. The reason given for this decision was that they feared that if they had started a formal investigation, it would have a negative impact on the woman's care if more people found out. So, they did not immediately and actively conduct interviews. Communication was difficult, and, to confirm delicate matters, they could only communicate with the woman through and with her doctors, and the idea was to wait until the situation stabilized.[112]

Regarding the involvement of one of their staff in the invitation of the female who was Nakai's victim in that day's event as reported by Bunshun, Fuji has continued to deny it, citing inquiries and interviews with Nakai and other employees and staff, and to phone call records,[113] but confirmed that that employee had indeed invited the woman to a barbeque in May, held in Nakai's house. In that occasion, at least 10 people were at the gathering. There was another gathering at a hotel in Tokyo in the winter of 2021 with Nakai and other people in the entertainment industry, Fuji employees, including the woman in question. Neither of the latter two meetings have been considered as an extension of the barbeque, nor has been revealed full confirmation of the reason for having the gathering.[112][113] Regarding a question about considering female employees, like announcers, as "entertainment staff", Minato responded "We do have dinner parties with celebrities and TV show participants, New Year's parties and the like. Sometimes female announcers join in on these. I have never thought of them as entertainment staff", and reiterated, "I have always thought of them as one of our colleagues, attending a banquet together, so I have never personally perceived them as entertainment staff".[114]

Regarding if they had considered filing some kind of claim for damages against Nakai, Endo replied, "The third-party committee has not yet reached a decision, so as of now, we have not." When asked if there was a possibility, he said, "The possibility may not be zero."[115]

On January 28, 2025, it was reported that, just before the Fuji press conference on the 27, Weekly Bunshun had changed wording of its electronic version of the post dated December 25, 2024, omitting that the woman was invited to the incident day's dinner by a Fuji TV programming executive, changing it to that the invitation was from Nakai, as a continuation from a meeting that the executive had set up.[116][117][118]

See also

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Notes

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
Fuji Television Network, Inc., branded as Fuji TV, is a prominent Japanese commercial television broadcaster headquartered at 2-4-8 Daiba, Minato-ku, , operating as the station of the (FNN) for news and the (FNS) comprising 28 affiliate stations across . Established in November 1957 and commencing broadcasts on March 1, 1959, the company employs 1,160 staff and functions as a subsidiary of Fuji Media Holdings, Inc., with a mission centered on delivering reliable information, creating culturally enriching content, and maintaining a diverse workplace environment. The network has marked key technological advancements, including the initiation of regular color broadcasting in 1964, establishment of a nationwide FNS by , relocation to its current headquarters in 1997, and completion of the analog-to-digital transition in 2011. Fuji TV distinguishes itself through production of diverse programming such as dramas, variety shows, , and documentaries, achieving international acclaim via exported formats like and recent accolades including multiple Gold Awards at the New York Festivals & Film Awards for nonfiction content addressing social issues and .

Corporate Structure and Ownership

Ownership and Parent Company

Fuji Television Network, Inc. functions as a wholly-owned subsidiary of Fuji Media Holdings, Inc. (FMH), a certified broadcasting holding company under Japan's Broadcasting Act. This structure was established on October 1, 2008, via a group reorganization that positioned FMH as the parent entity overseeing Fuji Television's operations while separating non-broadcasting assets to comply with regulatory requirements for media conglomerates. FMH maintains full ownership of Fuji Television, ensuring centralized control over its flagship broadcasting activities within the broader Fujisankei Communications Group framework. FMH operates as a publicly traded entity on the , with major shareholders including Japanese financial institutions such as Japan Master Trust Bank and companies like Toho Co., Ltd., along with individual investors; claims of domination by ethnic Koreans represent baseless conspiracy theories lacking evidence from reliable sources. No single entity holds a controlling majority stake that alters the subsidiary relationship with Fuji Television. The parent company's business segments encompass —primarily through Fuji Television—alongside media and content production, urban development, and hotels and resorts, diversifying revenue streams beyond traditional television. This diversified holding structure supports Fuji Television's operations by leveraging synergies across group companies, such as shared content distribution and assets, while Fuji Television remains the core arm. As of 2025, FMH continues to hold undivided of Fuji Television amid ongoing reforms, including board reshuffles approved at the shareholders' meeting, which reinforced the parent-subsidiary without impacting equity control. These reforms, prompted by internal challenges, prioritize and compliance but do not alter the fundamental model established in 2008.

Headquarters and Operational Facilities

Fuji Television's headquarters are located in the Fuji Broadcasting Center (FCG Building) at 2-4-8 Daiba, Minato-ku, , within the district. This 27-story complex, completed in 1997, stands at a height of 123 meters and functions as both the and primary center. Designed by Kenzo Tange, the incorporates innovative features such as a spherical called Hachitama and the iconic "8 Mark" sculpture at its entrance, reflecting the network's visual identity. The building houses extensive operational facilities, including production studios spanning approximately 990 square meters, control rooms, and transmission infrastructure essential for live broadcasting and content creation. Adjacent facilities support additional production needs, such as the Wangan Studio, dedicated to filming popular programs. Prior to relocating to , Fuji Television operated from facilities in central , marking the 1997 move as a significant expansion to accommodate modern broadcasting demands.

Branding and Visual Identity

Logos and Evolution

Fuji Television's inaugural logo, adopted at its launch on March 1, 1959, depicted a stylized numeral "8" to signify its channel position in the Kanto region. Designed by graphic artist Yoshio Kamegura, this "8 Mark" embodied the network's early identity and persisted in use for 27 years until March 31, 1986. On April 1, 1986, Fuji Television transitioned to a new emblem featuring a stylized eye enclosed in a red outline, aligning with the Fujisankei Communications Group's unified branding initiative launched in by chairman Haruo Kabuchi to organizational cohesion. The eye motif, symbolizing viewer and network oversight, was crafted by illustrator Katsu Yoshida, complemented by a from Yuji Baba.) This "Eyeball Mark" has endured as the primary logo since its introduction, undergoing subtle adaptations in digital applications and color schemes while retaining its core form. A monumental representation of the preceding "8 Mark" remains displayed at the Fuji Television headquarters entrance, underscoring the logo's historical significance.

Key Slogans and Marketing Campaigns

Fuji Television adopted its most enduring slogan, "楽しくなければテレビじゃない" (translated as "If it's not fun, it's not TV"), in 1981 under the leadership of Haruo Kanai, who became president that year and shifted the network toward entertainment-focused programming to compete in ratings wars. This encapsulated a deliberate rebranding emphasizing viewer enjoyment through innovative variety shows and quizzes, such as Naruhodo! The World and Oretachi Hyōkin-zoku, which propelled Fuji TV to surpass rivals like TBS in viewership by 1982. The slogan's implementation marked a cultural pivot in Japanese television, prioritizing lighthearted, high-energy content over traditional news or drama dominance, contributing to Fuji TV's "" of the with hit formats that influenced broader industry trends toward audience engagement. Official corporate histories credit it with fostering a dynamic identity that sustained high ratings into the 1990s, though critics later argued it encouraged superficiality amid evolving media landscapes. In response to 2025 scandals involving executive misconduct, Fuji Television invoked the slogan in governance reforms, pledging to "restore the unique identity" by recommitting to fun, viewer-centric content while addressing compliance failures that contradicted its original ethos. Extensions like "楽しくなければコンテンツじゃない" (If it's not fun, it's not content) appeared in digital spin-offs such as Zero TV, adapting the core principle to streaming eras. No other slogans have achieved comparable longevity or cultural resonance in the network's branding history.

Historical Development

Founding and Initial Operations (1957–1969)

Fuji Television Network, Inc. originated from an application submitted in June 1957 by , Nippon Cultural Broadcasting, and three major film companies—, , and —for a television broadcasting license. In July 1957, the company received a provisional license, assigning it channel 8 and the call sign JOCX. The entity was formally established as Fuji Television Co., Ltd. in November 1957 with initial capital of 600 million yen, headquartered at 1-7 Yurakucho, Chiyoda-ku, ; Shigeo served as founding president and Nobutaka Shikanai as managing director. The company changed its name to Fuji Television Network, Inc. in December 1958. It obtained a full license in January 1959 and completed of its initial headquarters in . Regular broadcasting commenced on March 1, 1959, with a 10 kW video output, marking Fuji Television as the third commercial broadcaster in after Nippon Television (1953) and Tokyo Broadcasting System (1955), which positioned it at a competitive disadvantage in audience acquisition. A trial broadcast occurred on January 10, 1959, followed by an eve festival on February 28 that was aired live. Early operations focused on building viewership through live events and shared facilities, including initial headquarters shared with in Yurakucho around 1961. In April 1959, Fuji Television contributed to nationwide coverage of Akihito's , an event that significantly boosted television adoption and the station's visibility. By June 1959, it signed the Core 4 Station Network Agreement, laying the groundwork for the (FNS). Transmission power was upgraded to 50 kW in January 1960 to expand coverage. The station relocated its headquarters to 7 Ichigaya-Kawada-cho, Shinjuku-ku, in December 1962. Programming in the early years emphasized family-oriented content, with initial forays into ; for instance, it later supported pioneering anime like starting in 1963, reflecting an early commitment to the medium amid competition from established networks. Fuji Television initiated regular color broadcasting in September 1964, ahead of full national color transition, though most programming remained black-and-white until infrastructure expanded. The (FNN) was established in 1966 to coordinate news affiliates, enhancing operational reach by 1969. These developments solidified Fuji Television's foundation as a key commercial broadcaster during Japan's postwar television boom.

Transition to Color and Expansion (1970–1989)

Following the initiation of regular color television broadcasting in September 1964, Fuji Television entered the 1970s with color as a standard feature, enabling expanded production of vibrant programming that aligned with growing consumer adoption of color receivers in Japan. This technological shift facilitated diverse content, including ongoing anime series like Sazae-san, which debuted in 1969 and became a staple, reflecting the network's emphasis on family-oriented animation during network maturation. In October 1970, Fuji Television achieved significant expansion by establishing a nationwide network through the (FNS), incorporating 27 stations via UHF operations, which substantially increased its distribution footprint and audience accessibility across regions previously underserved by VHF signals. This infrastructural development underpinned programming growth, with the decade seeing introductions of popular such as Neo-Human Casshern in 1973, contributing to Fuji TV's reputation for innovative amid competitive commercialization of television. The late introduced audio multiplex broadcasting in October 1978, allowing stereo sound and multilingual options that enhanced viewer experience for dramas and variety shows. In July 1979, the establishment of Fujimic Inc. for information systems development supported backend efficiencies, aiding as viewership expanded. The marked further diversification through acquisitions and technological upgrades. In March 1982, Fuji Television acquired Kyodo Television Co., Ltd. as a , strengthening in-house production capabilities for high-rating content. December 1985 saw the launch of services, integrating textual data with broadcasts to provide supplementary information like news and weather. Corporate synergies grew via mergers, including the September 1985 consolidation of publishing into Fuji-Pacific Music Publishing Inc. and the October 1987 formation of Inc., fostering cross-media content integration. By August 1989, the introduction of Clear Vision broadcasting improved analog , while the founding of the Fuji Television Art Center expanded creative facilities, positioning the network for sustained growth amid evolving broadcast standards.

Golden Age of Ratings and Innovations (1990–2009)

During the 1990s and 2000s, Fuji Television pursued technological advancements that positioned it as a leader in within . In 1990, the network initiated test broadcasts of (HDTV), laying groundwork for enhanced visual quality. By 1994, it obtained a for practical HDTV trials, followed in 1995 by the launch of Wide Clear Vision, an extended definition television (EDTV II) system that improved picture clarity over standard formats. These developments reflected Fuji Television's commitment to adopting superior transmission standards ahead of widespread industry implementation. A pivotal structural change occurred in 1997 with the completion of a new in , , designed to incorporate state-of-the-art production facilities and foster urban development in the area. This relocation not only centralized operations but also boosted ancillary revenues from program-related merchandise and local commerce in . Concurrently, Fuji Television expanded its multi-channel offerings, commencing CS digital broadcasting with Fuji TV 721 in 1998 and Fuji TV 739 in 1999, diversifying content delivery beyond terrestrial signals. The period culminated in sustained high viewership, exemplified by Fuji Television securing the "quadruple crown" in ratings for fiscal 2005, topping categories such as overall household ratings, prime-time slots, and key demographics including younger viewers, according to data from Video Research Ltd. Further innovations included obtaining a terrestrial license and initiating services in December 2003, alongside the 2006 launch of One-Seg mobile . In 2007, the Wangan Studio was completed, enhancing production capabilities for dramas and variety programs. These strides supported robust audience engagement until the late .

Period of Decline and Internal Reforms (2010–2019)

In the early , Fuji Television faced a marked erosion in viewership ratings amid intensifying competition from digital streaming platforms and shifting audience preferences toward on-demand content. By , the network lost its longstanding "triple crown" dominance—encompassing leadership in prime-time, morning, and overall household ratings—to Nippon Television, signaling the end of its unrivaled position in key demographics after years of supremacy in the . This shift reflected broader industry trends, with terrestrial broadcasters like Fuji experiencing downward pressure on average viewing figures as younger viewers migrated to internet-based , contributing to sluggish prime-time performance across major networks. Financial strains compounded the operational challenges, as advertising revenues, a core for Fuji Television, began to contract due to advertisers reallocating budgets to online media. Fuji Media Holdings, the parent entity, reported consolidated revenues peaking near 584 billion yen in fiscal 2010 before stabilizing in the 500-600 billion yen range through the decade, with operating exhibiting volatility and an annual earnings decline of approximately 0.3% amid rising production costs and fragmentation. By fiscal 2019, Fuji TV's specifically fell by 5%, underscoring the network's vulnerability to digital disruption and failure to capture streaming-era ad dollars effectively. To counter the downturn, Fuji initiated internal reforms focused on organizational and content diversification, including efforts to streamline programming production and enhance digital integration within its operations. These measures involved departmental reorganizations aimed at fostering in variety shows and dramas, though they yielded mixed results, with persistent criticism over inadequate adaptation to global streaming trends and overreliance on traditional formats. under extended leadership emphasized cost controls and tentative investments in online platforms, but the reforms were incremental, setting the stage for more aggressive overhauls in subsequent years as ratings continued to lag behind competitors like .

Contemporary Challenges and Restructuring (2020–Present)

Fuji Television has encountered significant challenges since 2020, primarily driven by a structural decline in terrestrial amid broader shifts in viewer habits toward digital streaming platforms and on-demand content. Linear TV viewership in has fragmented, with audiences increasingly favoring mobile and SVOD services, leading to Fuji TV's household ratings dropping to fourth place among Tokyo's major broadcasters by 2025. This erosion contributed to Fuji Media Holdings, the parent company, reporting operating income fluctuations and a net of -4.90% in recent , reflecting ongoing pressure from a shrinking TV ad market. Compounding these market dynamics, Fuji TV faced acute reputational damage from a high-profile scandal in early 2025 involving former TV personality , which exposed deficiencies in and protections. The mishandled response resulted in approximately 80 advertisers suspending their campaigns on the network due to public backlash, further straining finances and accelerating calls for accountability. Fuji Media Holdings acknowledged systemic issues in and officer awareness, prompting criticism that prior management inadequacies had persisted despite industry-wide awareness of similar sector problems. In response, Fuji Media Holdings initiated sweeping restructuring measures in 2025, including the appointment of new leadership committed to revitalization and the establishment of a third-party investigative panel aligned with Japan Federation of Commercial Broadcasters guidelines. On April 30, 2025, the company outlined eight concrete measures for reform, such as implementing a group-wide for reporting violations, enhancing compliance to prevent abuses, and fostering a cultural shift toward across subsidiaries. These efforts aim to rebuild and adapt to by targeting younger demographics through hybrid content strategies, though analysts note that regaining advertiser confidence and reversing viewership declines will require sustained execution amid competitive pressures from platforms like and domestic streamers.

Broadcasting Infrastructure

Analog and Digital Transmission

Fuji Television initiated analog terrestrial broadcasting on March 1, 1959, as Japan's fourth commercial television station, transmitting on UHF channel 8 from Tokyo at a frequency of 193.25 MHz with an effective radiated power of 50 kW. The station adhered to Japan's NTSC-J analog standard, which supported 525-line resolution and 60 fields per second interlaced scanning. Color transmissions commenced experimentally in September 1964 and became regular thereafter, while stereo audio broadcasting was introduced in October 1978 to enhance program quality for affiliated stations nationwide. Analog operations expanded via the (FNS), reaching 28 stations by the 1970s through UHF relay facilities, ensuring coverage across Japan's key regions despite terrain challenges in mountainous areas. Signal propagation relied on line-of-sight VHF/UHF principles, with boosters and mitigating multipath interference and signal in urban densities like . However, analog limitations—such as susceptibility to noise, limited bandwidth for high-definition content, and inefficient use—prompted Japan's shift to digital formats amid growing demands for delivery. Fuji Television launched digital terrestrial broadcasting on December 1, 2003, implementing the ISDB-T standard, which enables segmented transmission for fixed high-definition (up to ) and mobile one-seg services via OFDM modulation and hierarchical coding. The remained 8 for continuity, mapped to physical UHF channel 21 from post-2012, supporting bit rates up to 23 Mbps for multiple subchannels including HD video, multi-audio tracks, and data services. This transition improved error correction via Reed-Solomon and convolutional coding, yielding robust reception even in fringe areas, and freed spectrum post-analog shutdown. Nationwide analog termination occurred on July 24, 2011, at noon JST, except in tsunami-affected Tohoku prefectures delayed until 2012 due to infrastructure damage; Fuji complied fully, ceasing signals to mandate digital tuners or converters for viewers. Digital adoption reached over 99% household penetration by 2011, driven by government subsidies and mandatory distribution, though initial costs and elderly user adaptation posed barriers. Post-transition, Fuji optimized ISDB-T for 4K/8K uplinks via partnerships, though terrestrial remains SD/HD primary, with satellite and IP extensions handling advanced formats.

Relay Stations and National Coverage

Fuji Television transmits its signal primarily to the from on UHF digital channel 21, with analog operations having ceased in 2011. To overcome geographical obstacles such as mountains and that hinder direct reception, the station maintains a system of relay stations operating in a (SFN) configuration. This setup synchronizes transmissions to reduce interference and enhance signal reliability across the service area. Nationwide coverage of Fuji Television's programming is facilitated by the (FNS), encompassing 28 affiliated stations that distribute entertainment, variety, and non-news content to all prefectures. These affiliates rebroadcast key programs, ensuring accessibility beyond the Kantō base. News and information services are handled separately via the (FNN), which shares the same 28-station infrastructure for real-time national dissemination. This dual-network structure, established progressively since the , achieves full territorial penetration without relying on redistribution for core terrestrial broadcasts.

International and Overseas Services

Fuji Television operates a network of 12 overseas bureaus to facilitate international news gathering, content acquisition, program sales, and business development, with locations including New York, Washington D.C., Los Angeles, London, Paris, Berlin, Rome, Istanbul, Moscow, Beijing, Seoul, and Bangkok. These offices support the broadcaster's global expansion by coordinating with local partners and monitoring foreign media markets. A primary overseas service is provided through Fujisankei Communications International (FCI), the international arm of the Fujisankei Communications Group, which distributes Fuji TV's news, information, politics, economy, and cultural programs via cable and targeted at Japanese expatriates. FCI reaches approximately 650,000 Japanese nationals in the United States and , offering services such as program editing, sales, broadcast management, production, and brokerage, often in partnership with sectors like , communications, and for promotional support. Unlike dedicated global channels such as World, FCI focuses on serving overseas Japanese communities rather than broad international audiences. For wider global access, Fuji TV launched the FUJITV GLOBAL CHANNEL on on November 30, 2022, streaming select content with multilingual subtitles in languages including English, French, and Spanish to distribute worldwide. Initial offerings include shortened episodes of the long-running documentary series THE NONFICTION, available in 3- to 10-minute formats. Complementing this, Fuji Creative Corporation handles the export of animations, dramas, and documentaries to over 240 countries, while recent strategic partnerships—such as co-productions with Germany's Enterprises, China's (announced September 2023), India's (May 2024), and Vietnam's POPS Worldwide—aim to adapt and produce content for international markets, reflecting a broader push into global expansion amid Japan's broadcasters seeking overseas growth.

Network Affiliations and Partnerships

Fuji News Network (FNN)

The (FNN) is a Japanese commercial news television network operated by Fuji Television Network, Inc. as its key station, focusing on the production, supply, and exchange of news content among affiliated regional broadcasters. It was established on October 3, 1966, through an agreement among five initial stations: Fuji Television, Sendai Broadcasting, Tokai Television Broadcasting, Kansai Television, and Television Nishinippon Corporation, marking the formation of Japan's third major national news network. This setup enabled centralized news gathering in with distribution to local outlets, contrasting with the separate (FNS) for general programming. FNN currently encompasses 28 affiliated stations across Japan, including Fuji Television serving the Kanto region and extending to regional broadcasters in areas such as Hokkaido, Tohoku, Chubu, Kansai, Chugoku-Shikoku, and Kyushu-Okinawa. These affiliates collaborate on news exchange, allowing local stations to contribute regional reports while receiving national and international coverage produced primarily by Fuji Television's news division. The network's operations emphasize rapid dissemination via terrestrial broadcasting, supplemented by digital platforms like FNN Prime Online, launched in 2018 as a unified online news service integrating content from all affiliates. Key FNN news programs, such as morning bulletins and evening reports, are simulcast nationwide, with Fuji Television handling core production using resources like dedicated newsrooms and correspondents. The network has expanded its reach through technological upgrades, including digital terrestrial transmission starting in 2003, ensuring comprehensive coverage of , , , international affairs, , and . Affiliates maintain autonomy in local inserts but adhere to FNN standards for uniformity in national segments.

Fuji Network System (FNS)

The (FNS) comprises Fuji Television Network, Inc. and 27 affiliated regional television stations across , totaling 28 members, which collectively distribute non-news programming including entertainment, dramas, variety shows, and other general content. This structure enables coordinated broadcasting to cover diverse regional audiences while leveraging Fuji Television's production capabilities as the key station. Fuji Television initiated affiliations in 1959 with three initial domestic stations upon commencing operations, laying the groundwork for network expansion. FNS formalized this cooperative framework for program distribution, achieving nationwide coverage by October 1970 through the integration of 27 stations enabled by the second wave of UHF television openings. The network's affiliates span all major regions, from (e.g., Hokkaido Cultural Broadcasting Co., Ltd., UHB) and Tohoku (e.g., Iwate Menkoi Television Co., Ltd., MIT; Television Inc.) to Kanto (Fuji TV itself), Chubu, Kansai, Chugoku, , (e.g., Television Oita System Co., Ltd.; Miyazaki Telecasting Co., Ltd., UMK), and Okinawa. Distinct from the (FNN), which handles news-specific feeds, FNS focuses on non-news content to maximize viewership and advertising reach across affiliates. This division allows efficient resource allocation, with FNS supporting events like the annual FNS Music Festival, broadcast since 1974, featuring performances from regional and national artists to engage audiences nationwide. As of 2024, the system maintains 28 stations, adapting to digital transitions while preserving its role in program syndication.

Programming Portfolio

Anime and Animated Content

Fuji Television pioneered the broadcasting of original Japanese animated series tailored for television audiences, beginning with early efforts in the 1960s and expanding significantly by the late 1960s. The network's flagship animated program, Sazae-san, premiered on October 5, 1969, and has aired weekly ever since, amassing over 8,000 episodes by 2025. This series holds the Guinness World Record for the longest-running anime television program, a distinction it has maintained for 55 years as of October 2024, featuring episodic stories of a postwar Japanese family that emphasize everyday humor and moral lessons. Other enduring family-oriented anime on Fuji include Chibi Maruko-chan, which debuted in 1990 and chronicles schoolgirl life with relatable slice-of-life vignettes. In primetime slots, particularly Sunday mornings, Fuji Television has aired blockbuster shōnen series targeting younger male viewers, such as the Dragon Ball franchise starting with Dragon Ball in 1986 and continuing through Dragon Ball Z from April 26, 1989, to January 19, 1996, known for its action-packed martial arts battles and global cultural impact. One Piece, adapted from Eiichiro Oda's manga, began broadcasting on October 20, 1999, and remains ongoing with over 1,100 episodes, following pirate adventures in a serialized quest for treasure that consistently ranks among Japan's highest-rated programs. To broaden anime's appeal beyond traditional demographics, Fuji launched the block ("animation" spelled backward) on April 14, 2005, scheduling original series Thursdays late night from 12:45 a.m. to 1:15 a.m. JST, with a focus on mature themes, female protagonists, and non-shōnen narratives like (its debut) and later entries such as . The block has produced or aired over 100 titles, emphasizing experimental storytelling to attract adults and women, and in 2016 partnered with for exclusive post-broadcast streaming of new episodes. By 2025, Noitamina marked its 20th anniversary with exhibits and time slot adjustments to Friday 11:30 p.m., adapting to shifting viewer habits.

Tokusatsu Productions

Fuji Television played a pivotal role in early tokusatsu development by commissioning and broadcasting pioneering series through partnerships with production studios like P Productions. Ambassador Magma (Magma Taishi), produced by P Productions, became Japan's first color tokusatsu television program when it premiered on July 4, 1966, and ran for 52 episodes until September 25, 1967, featuring a golden giant robot defending Earth from extraterrestrial threats using innovative puppetry and miniature effects. The series, adapted from Osamu Tezuka's manga, emphasized environmental protection themes amid post-war technological optimism, achieving commercial success that encouraged further investment in the genre. Building on this foundation, P Productions' aired on Fuji Television from January 2, 1971, to March 25, 1972, spanning 63 episodes and introducing a hero from Nebula 71 combating mutants spawned by alien simians exploiting Earth's . Created by producer Souji Ushio, the show innovated with suitmation techniques and ecological messaging, reflecting 1970s concerns over industrialization, and spawned merchandise lines that bolstered Fuji TV's youth audience revenue. Fuji Television also supported ' Mirrorman (1971–1972), a 51-episode entry blending battles with mirror-dimensional lore, where the titular reflector-suited defender materialized to thwart invading monsters. Later efforts included the marionette-driven (1980–1981), a 26-episode pitting a against imperial forces, produced in collaboration with Cosmo Productions and emphasizing dynamic model combat. These productions, while not establishing long-running franchises like those on rival networks, demonstrated Fuji TV's focus on episodic spectacle and innovation during tokusatsu's golden era, often prioritizing broadcast rights and sponsorship over in-house creation.

Drama Series

Fuji Television's drama series productions encompass a broad spectrum of genres, including romance, mystery, and slice-of-life narratives, primarily targeted at prime-time audiences through slots like the flagship Monday 9:00 p.m. time frame, often abbreviated as "Getsuku." The network pioneered the "trendy drama" subgenre in the late 1980s, featuring high-production values, urban lifestyles, fashion-forward aesthetics, and stories centered on young professionals navigating love and career challenges, which marked a shift from earlier family-centric formats aimed at older demographics. This approach, originating prominently on Fuji TV's Monday evening programming, emphasized casting popular idols and actors, contributing to viewership surges and cultural phenomena during the 1990s bubble economy era. Notable early successes include (1991), a romantic series adapted from a that aired for 11 episodes and achieved peak household ratings over 30 percent, significantly boosting the careers of leads Yuji Oda and Honami Suzuki while influencing depictions of modern relationships in Japanese media. Similarly, (1996), starring as a struggling and Tomoko Yamaguchi as a divorced , ran for 12 episodes from April 15 to June 24, averaging 29.1 percent ratings and solidifying Fuji TV's reputation for emotionally resonant, music-infused narratives that dominated late-1990s airwaves. These series exemplified the network's strategy of integrating original soundtracks and celebrity appeal to drive domestic popularity and later international remakes. In subsequent decades, Fuji TV expanded into diverse formats, such as legal thrillers like (2001), which debuted in the January-March period and spawned sequels due to strong audience engagement, and medical dramas like Medical Examiner Asagao (2019), the first season of which occupied the Monday 9:00 p.m. slot in July. The network has licensed remake rights for nearly 40 of its dramas to overseas markets, particularly in , reflecting their export potential despite challenges in global . Production continues through dedicated in-house teams, with content increasingly available on the Fuji TV On Demand (FOD) platform, which hosts extensive archives alongside new releases to sustain viewer interest amid shifting consumption habits. Over its more than 60 years of operation, Fuji TV's drama output has emphasized innovative storytelling and star-driven appeal, maintaining its position as a key innovator in Japan's scripted television landscape.

Variety, Talk, and Reality Shows

Fuji Television's variety and talk shows have historically emphasized high-energy formats combining celebrity interviews, comedic sketches, games, and musical performances, contributing to the network's strong ratings in and daytime slots. Waratte Iitomo!, a cornerstone daytime program hosted by (Kazuyoshi Morita), premiered on October 4, 1982, and concluded on March 31, 2014, after 8,054 episodes, making it Japan's longest-running live on a single channel. The format included daily "Telephone Shocking" guest calls, live audience participation, and improvisational humor, drawing consistent viewership through its accessible, lighthearted appeal. Evening variety staples included SMAP×SMAP, which aired Mondays from April 15, 1996, to December 26, 2016, featuring the idol group as hosts in segments blending cooking contests, physical challenges, and collaborations with international artists like and foreign musicians. Similarly, Hey! Hey! Hey! Music Champ, hosted by the comedy duo (Hitoshi and ) from October 17, 1994, to December 17, 2012, centered on rankings, live performances, and banter, attracting over 1,000 musical guests during its run. In reality programming, Fuji Television pioneered unscripted social experiments, notably , which debuted on October 12, 2012, under the subtitle Boys × Girls Next Door and followed six young adults cohabiting in a shared house to foster organic relationships, with production emphasizing minimal intervention and post-filming commentary panels. The series expanded to multiple seasons, including international settings like in Aloha State (2016), achieving global reach via partnerships while maintaining Fuji TV's broadcast rights in . Another landmark was , broadcast from October 11, 1999, to March 23, 2009, where seven participants traveled in a customized van pursuing romantic connections, with rules requiring mutual affection for a couple's return to ; a revival as Ainori Love Wagon: Asian Journey launched in 2017. These programs exemplified Fuji TV's strategy of leveraging idol culture and experiential formats to drive audience engagement, often outperforming competitors in urban demographics during the and . Current variety offerings, such as The New Key and prank-focused Endless Pranks Grand Prix, continue this tradition with contemporary twists on and challenges.

News, Information, and Sports Coverage

Fuji Television delivers through flagship daily programs such as Mezamashi TV, a morning information and magazine airing weekdays from 5:25 a.m. to 8:14 a.m., featuring headlines, weather forecasts, traffic updates, and light entertainment segments. Additional live offerings include Live News it!, Live News days, and Live News α, which provide real-time reporting, interviews, and analysis across morning, daytime, and evening slots to FNN affiliates nationwide. In information programming, the network emphasizes documentaries via THE NONFICTION, a Sunday afternoon series broadcast from 2:00 p.m. to 2:55 p.m. that examines personal stories, human relationships, and societal challenges through in-depth narratives, sustaining high viewer engagement and earning multiple nominations and awards at domestic and international TV festivals. Sports coverage on Fuji Television blends event broadcasts with variety formats, including Junk Sports, a Saturday 5:00 p.m. program hosted by that combines athlete interviews, cross-sport discussions, and customized physical challenges for competitors in disciplines like and . The network holds rights to major international events, such as live telecasts of Major League Baseball's 2024 featuring the [Los Angeles Dodgers](/page/Los Angeles_Dodgers) versus the New York Yankees. This prioritization led to repercussions, as in November 2024, when revoked Fuji TV's press credentials for the after the network aired digests during the domestic series' opener. Fuji TV also transmits select professional soccer matches, including Dutch games through a deal extending to 2025.

Business and Financial Operations

Revenue Streams and Economic Model

Fuji Television's economic model centers on an advertising-supported broadcasting framework, where the majority of revenue derives from commercials aired during programs transmitted via terrestrial, , and cable networks. In the ended March 2024, Fuji TV generated net sales of 238.2 billion yen within the parent company Fuji Media Holdings' Media & Content segment, predominantly from spot advertising and program sponsorships tied to high-viewership content such as dramas, , and variety shows. This model leverages network affiliations like the (FNS) and (FNN) to amplify reach across affiliates, enabling centralized ad sales that capitalize on prime-time slots and popular franchises. Supplementary revenues include content licensing and production fees, encompassing domestic syndication and international exports of , series, and dramas produced in-house or through subsidiaries like . Digital expansion via Fuji On Demand (FOD) contributes through subscription video-on-demand (SVOD) with 1.5 million paid members as of August 2024 and ad-supported video-on-demand (AVOD) on platforms like , where streaming ad revenues grew 61.6% year-over-year in the prior fiscal period. These streams, while smaller—FOD and related digital efforts forming a nascent but expanding portion—mitigate terrestrial ad volatility by monetizing archived and original content across devices, including integrations with smart TVs and . The overall model reflects a transition from reliance on linear TV , which comprised the bulk of Fuji TV's income historically, toward diversified digital and content ecosystems amid declining traditional viewership. However, vulnerability to advertiser pullouts was evident in fiscal 2024-2025, when scandals led to a projected 23.3 billion yen shortfall in Fuji TV's due to suspended commercials, underscoring the model's dependence on brand trust and audience scale. Fuji Media Holdings' broader segmentation, with Media & Content at approximately 72-74% of group revenues, supports Fuji TV through synergies like music publishing and events, yet core hinges on ad market recovery and digital scaling.

Financial Performance and Key Metrics

Fuji Media Holdings, Inc., the parent company of Fuji Television Network, Inc., reported consolidated net sales of ¥550.7 billion for the ended March 31, 2025 (FY3/25), marking a 2.8% decline from ¥566.4 billion in the prior (FY3/24). This downturn was primarily attributed to reduced in the segment amid and compliance incidents at Fuji Television during the fourth quarter. Operating for FY3/25 fell 45.4% to ¥18.2 billion from ¥33.5 billion in FY3/24, reflecting heightened costs and pressures in core media operations. The company recorded its first net loss attributable to owners since going public, at ¥20.1 billion, compared to a ¥37.1 billion profit in FY3/24, driven by impairment losses and one-time expenses linked to the scandals. Within the Fuji Television segment, net sales decreased 10.1% to ¥214.2 billion from ¥238.2 billion, with operating income shifting to a ¥14.0 billion loss from a ¥5.4 billion profit, underscoring the disproportionate impact on television and content distribution. Key metrics included a gross profit margin contraction and EBITDA of approximately ¥37.7 billion for the , amid broader challenges in traditional .
Fiscal YearConsolidated Net Sales (¥ billion)Operating Income (¥ billion)Net Income Attributable to Owners (¥ billion)
FY3/24566.433.537.1
FY3/25550.718.2-20.1
Historically, Fuji Media Holdings had demonstrated steady growth, with net rising from ¥468.6 billion in FY3/23 to ¥566.4 billion in FY3/24, supported by diversified media and urban development segments, though the FY3/25 results highlight vulnerability in advertising-dependent operations.

Digital Expansion and Streaming Services

Fuji Television initiated its digital expansion with the introduction of high-definition broadcasting tests in 1990 and full digital terrestrial signals commencing on December 1, 2003. This laid the groundwork for broader online content delivery, culminating in the launch of Fuji TV On Demand (FOD), its proprietary video streaming service, in September 2005. Initially available to subscribers of provider Softbank Broadband, FOD provided on-demand access to Fuji TV programs, marking one of Japan's earliest broadcaster-led efforts to transition terrestrial content to IP-based platforms. The service expanded significantly in subsequent years, incorporating catch-up viewing for recent episodes, exclusive originals, and in 2015, a digital comic distribution feature to diversify offerings. In February 2014, Fuji TV pioneered simultaneous online streaming of its broadcasts 24 hours a day, becoming the first Japanese network to align availability with linear airings, thereby enhancing viewer flexibility amid rising penetration. FOD's premium tier, introduced to monetize ad-free access and archived libraries, integrated with mobile apps and partnerships, such as content localization for platforms like . By November 2022, FOD's paid subscriber base exceeded 1 million, reflecting sustained growth driven by exclusive dramas, , and variety content amid Japan's shift to over-the-top services. This figure rose to 1.5 million by August 2024, underscoring FOD's role in Fuji TV's revenue diversification, with streaming contributing to the broadcaster's adaptation to trends and competition from global platforms like , for which Fuji TV began producing originals in 2015. Despite these advances, Fuji TV's digital strategy has emphasized domestic retention through FOD while selectively exporting IP via international alliances, such as a 2023 partnership with China's for co-distribution.

Controversies and Criticisms

Historical Incidents and Public Backlash

In 2011, Fuji Television faced significant public backlash from nationalist groups over its programming decisions, particularly the heavy emphasis on Korean dramas and content perceived as promoting foreign cultural influence at the expense of Japanese productions. On August 7 and 21, protests organized by groups including the Japanese Culture Channel Sakura drew over 2,000 demonstrators outside Fuji TV's headquarters in , with a larger rally on August 22 attracting an estimated 6,000 to 10,000 participants who chanted against what they termed "anti-Japanese" bias and demanded reduced (Hallyu) airtime. The controversy was ignited earlier in July by actor Sosuke Takaoka's post criticizing Fuji TV for alleged pro-Korea favoritism, which amplified online petitions and calls for boycotts of sponsors. Fuji TV responded by defending its as market-driven, citing viewer ratings for popular Korean imports, but acknowledged public concerns through a special September 2011 program featuring debates with protesters and executives. The network's president, Hiroshi Kido, met with protest leaders, promising to review programming for balance without committing to specific quotas, which partially diffused immediate tensions but left underlying criticisms of cultural prioritization unresolved. This incident highlighted tensions between commercial imperatives and domestic cultural preservation sentiments, with no formal regulatory penalties but notable advertiser during the protests. Earlier, in 1993, Fuji TV's Seoul bureau chief, Masato Shinohara, was implicated in a leak of South Korean military secrets, drawing media attention and questions about journalistic ethics and foreign operations, though the matter did not escalate to widespread public protests or internal reforms at the time. In 2015, a subtitling error in a Fuji TV broadcast of Korean content misrepresented a speaker's words as anti-Japanese ("I hate Japan"), sparking brief backlash and a lawsuit that Fuji won on grounds of no intentional malice, underscoring occasional lapses in translation accuracy amid international programming. These events, while not resulting in advertiser pullouts or executive changes, contributed to periodic scrutiny of Fuji TV's content strategy and operational integrity prior to more recent crises.

2024–2025 Sexual Misconduct Scandal

In December 2024, Japanese weekly magazines Shūkan Bunshun and Josei Seven published allegations that , a prominent television host and former leader of the , had engaged in toward a female Fuji Television employee during a 2023 business-related dinner. The incident, described as an extension of work duties rather than a private matter, involved Nakai allegedly assaulting the woman, prompting her to report it internally by June 2024, though the company did not escalate it to its compliance office or provide substantive support. Nakai, who had hosted programs on Fuji TV, issued an apology and retired from the entertainment industry shortly after the reports emerged. Fuji Television faced immediate backlash for its inadequate response, including continuing Nakai's on-air appearances and prioritizing his interests by recommending legal counsel for him while neglecting the victim's needs, which exacerbated her distress. An independent probe commissioned by the network, released on March 31, 2025, criticized the company's male-dominated management for exhibiting low awareness and treating the case as inconsequential amid a pervasive internal culture where young female staff were expected to entertain male clients and celebrities. A separate lawyer-led panel report in April 2025 classified the act as a serious infringement and under World Health Organization definitions but noted insufficient evidence to confirm a criminal offense. Surveys conducted as part of the investigations revealed widespread within Fuji TV, linking it to broader power imbalances in Japan's entertainment sector. The scandal triggered significant commercial fallout, with at least 75 advertisers, including and Kao, suspending commercials and replacing them with public service announcements, contributing to estimated losses of ¥45.3 billion by June 30, 2025. Investor pressure from firms like Dalton Investments mounted, culminating in the resignations of Fuji Media Holdings Chairman Shuji Kanoh and Fuji TV President Koichi Minato on January 27, 2025, who took responsibility for the mishandling. In response, the company appointed Kenji Shimizu as new president, who pledged reforms including mandatory compliance training, enhanced victim support protocols, and a compliance team incorporating external experts. On August 28, 2025, Fuji TV filed a ¥5 billion lawsuit against Minato and former Executive Toru Ota, accusing them of failing to investigate the initial report or implement preventive measures, thereby enabling the financial damages.

Allegations of Bias in Coverage and Programming

Fuji Television has encountered criticism for perceived in its programming, particularly during the protests organized by Japanese net-right groups against the network's heavy emphasis on Korean dramas and content as part of the Hallyu wave. Demonstrators, numbering between 6,000 and , accused the station of prioritizing foreign productions over Japanese ones, alleging this reflected a pro-South Korean agenda detrimental to domestic cultural interests. The backlash, amplified online, led to calls and highlighted tensions over in broadcasting, though Fuji TV defended its scheduling as market-driven. In news coverage, Fuji TV faced allegations of manipulative editing in 2015 when a program featured misleading for interviews with South Koreans, portraying them as expressing explicit hatred toward —such as fabricated claims of "I hate "—to heighten dramatic effect. The network issued an apology, describing the discrepancies as subtitling errors rather than intentional distortion, but critics contended the inflammatory presentation fueled and reflected selective framing to align with nationalist viewer expectations. Similar concerns have arisen in broader discussions of Japanese media practices, where reliance on official sources via kisha clubs contributes to uniform, government-aligned reporting across networks, including Fuji TV's FNN affiliate. As part of the Fuji Sankei Communications Group, which publishes the right-leaning , Fuji TV's news operations have been scrutinized for potential conservative tilt in political coverage, with some observers noting alignment with Liberal Democratic Party narratives on security and historical issues. However, explicit allegations of systemic pro-government bias remain less documented compared to those against other broadcasters, partly due to the group's status among media conglomerates often criticized for pacifist or opposition-friendly stances. Empirical analysis of coverage patterns, such as during national elections, would be required to substantiate claims beyond affiliation-based inferences. Some allegations of bias have extended to unsubstantiated conspiracy theories claiming that Fuji Television is controlled or operated by Zainichi Koreans, purportedly to explain perceived pro-Korean programming preferences. These claims lack evidence from reliable sources and originate from fringe nationalist discourse. Fuji Television Network is a subsidiary of Fuji Media Holdings, Inc., a publicly traded Japanese company whose major shareholders include Japanese firms such as Toho Co., Ltd. and investment managers like Rheos Capital Works, with no domination by ethnic Koreans.

Cultural Impact and Legacy

Contributions to Japanese Media Landscape

Fuji Television advanced Japan's broadcasting infrastructure by commencing regular transmissions on September 21, 1964, which facilitated the transition from black-and-white programming and expanded visual production capabilities nationwide. The network further innovated with the initiation of (HDTV) test broadcasts on November 1, 1990, contributing to the standardization of advanced formats that later underpinned adoption across the country. These technological milestones, including the launch of services in December 1985 and terrestrial in December 2003, positioned Fuji TV as a leader in enhancing broadcast quality and accessibility. In content creation, Fuji TV shaped the anime genre's integration into mainstream television by airing Astro Boy (Tetsuwan Atomu), the inaugural domestically produced series, premiering on January 1, 1963, which demonstrated the viability of original Japanese animation for weekly broadcast schedules and spurred industry growth. The station solidified 's cultural endurance with Sazae-san, debuting on October 5, 1969, as a family-oriented comedy that achieved the Guinness World Record for the longest continuously running animated TV program, amassing over 2,600 episodes by 2025 and embedding serialized domestic narratives into Sunday evening rituals for generations of viewers. Fuji TV expanded media reach through infrastructural networks, forming the Fuji Network System (FNS) in June 1959 with initial partner stations and growing it to 27 affiliates by October 1970, which enabled synchronized programming distribution and bolstered regional content synergy. Complementing this, the Fuji News Network (FNN), established in October 1966, professionalized real-time news dissemination among affiliates, influencing competitive standards in journalistic broadcasting. By launching Fuji On Demand (FOD) in 2005 as Japan's first broadcaster-owned video streaming platform, Fuji TV preempted the digital shift, offering on-demand access to its archives and fostering hybrid viewing models amid declining linear audiences. These efforts collectively diversified Japan's media ecosystem, prioritizing viewer engagement via technological and programmatic over traditional ad-reliance alone.

Global Influence and Exports

Fuji Television has expanded its international presence through content licensing and co-productions, particularly in and via global streaming platforms. In June 2024, Fuji TV signed a licensing agreement with to distribute a selection of its dramas, variety shows, and other programs to audiences in 190 countries and regions, marking a strategic push to leverage archived and new content for broader accessibility. This deal builds on earlier efforts, such as the mid-1990s export of its cooking competition series , which gained significant popularity after adaptation and syndication, influencing global perceptions of Japanese culinary media. The network's programming contributes notably to its overseas exports, with Fuji Creative handling distribution of animations, dramas, and documentaries worldwide. Fuji has collaborated with platforms like China's to launch dedicated slots, such as "B8station" in October 2023, featuring select titles for international viewers. Recent initiatives include co-productions with Southeast Asian studios, like Thailand's GMM Studios International and POPS Worldwide, aimed at creating IP adaptable for global markets, as outlined by Fuji executive Koji Ishii in November 2024. Despite these advances, Fuji TV's live-action dramas face challenges in overseas markets compared to , with Japanese broadcasters historically exporting fewer unadapted series due to cultural specificity and short episode formats. counters this by exporting TV formats and partnering with international distributors like The Story Lab for global adaptation of shows, such as a 2021 variety program launched domestically before overseas rollout. These efforts reflect Fuji TV's shift toward format sales and hybrid productions to enhance economic viability abroad.

References

  1. https://www.wikidata.org/wiki/Q744800
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